Uncle John's Band, Deep Elem Blues, Friend Of The Devil, Big Railroad Blues, Dark Hollow, Ripple, To Lay Me Down, Truckin', Rosalie McFall, Cumberland Blues, New Speedway Boogie, Brokedown Palace
Casey Jones, China Cat Sunflower-> I Know You Rider, Candyman, Sitting On Top Of The World, Good Lovin'-> Drums-> Good Lovin', Big Boy Pete, Me & My Uncle, Easy Wind, Sugar Magnolia, Attics Of My Life, Mama Tried, Not Fade Away-> Caution (Do Not Stop on Tracks)-> We Bid You Good Night
First set acoustic with David Grisman and David Nelson on mandolin Other artist(s) on bill: NRPS
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
Attics of My Life
Droncit notes: this restoration was undertaken because of a request from Luminarist, who was unable to listen to the second set with any degree of pleasure. It should be much better now. I used shnid 97364 because it seemed to have greater presence than other sources I had access to.
Too many changes to document them all, but here are the major things:
Set I: Not much was done to the first set except for speed corrections, correcting volume fluctuations, and bringing back the presence. A few dropouts were interpolated. Some of the speed differences will be noticeable as compared to existing sources. This is especially true with My & My Uncle and Mama Tried, as these followed a different path from the rest of the show in terms of at least one transfer involving a different recorder. I also did a little bit of light channel blending on a couple of songs because the vocals and acoustic guitars were very weak and residing primarily in one channel. The mandolins (Grisman and Nelson both play mandolin) are also a little clearer now.
Set II: There were a number of fluctuations (see info below), but I have corrected most of these, and very few problems are now evident in Caution, while this was almost unlistenable before. I flipped right and left channels from Not Fade Away through Feedback because they were the reverse of what was typical for the rest of the show. I would guess someone in the chain had flipped them while making a copy. I went with a mono version of And We Bid You Good Night because one channel had only very quiet echo and a lot of hiss (it sounds like live, but unused, stage microphones).
A great deal of hiss and lower frequency tape noise (grinding sounds, especially) remain, but this is most evident in headphones, and also most evident between songs. Sounds like 3.75 ips noise to me. If you listen on a stereo at home or in a car, feel free to crank it up loud and you will be rewarded.
This is supposed to be a stealth soundboard, but at the beginning of Not Fade Away, it sounds like an audience member (or the taper, more likely) asking another if it's Not Fade Away, so I would imagine it's a stealth aud recording with mics right next to the PAs or on stage. That would account for the mixing issues, and also might account for a few times when a lead guitar solo moves from one channel to the other in the middle of the solo, as well as the heavy hiss (since it would be up close to a PA). I could be wrong though.
Thanks to all involved in the recording, seeding, etc. Also thanks to Luminarist and JChastain. I hope you enjoy it.
July 8, 2016 Subject:
Help a Brother out
So, -> or > indicates that one song transitions into the next. A / or // indicates that the song is cut at the beginning or end wherever the notation occurs. * is typically used to not special guests etc. These are the best adaptations that could be made from the hand notations for the same that were present on handwritten J cards or tape covers.
Per the show: I believe I read in one of the Compendiums that this show was taped from a stealth rig under the stage which changed locations due to issues.
July 6, 2016 Subject:
Its Just Better
Much better actually. However, I always thought the version this replaced was pretty darn good! However, when you listen to Caution you can see vast improvement. Also, I really appreciated the much better opening to Caution as the correct transition was carried over properly. This vastly improved version makes me wonder how many other shows may have better versions out there with low view counts? I always use views as a surrogate for best version and if you do that with 9/20/70 you end up listening to lower quality version....not sure what would be a work-around to this problem. Any ideas? Also, what do the added characters to some of the song titles signify? Before someone skewers me, I did look around and try to find the answer.
For other lovers of Acoustic Dead from this decade, I just want to point out that this night is made explemplary and to my ear far superior to Harpur College (Dicks Pick Vol. 8) for two important reasons, three actually -- first, Phil is in on bass here, second David Grisman is in on mandolin and third, David Nelson provides a second mando on some songs, none of which is true for Harpur. Having said that, the acoustic tunes from Harpur College are superb in their own right - these are just better IMHO.
Finally, this was the last FE east show I attended before it closed in 71. Luckily Port Chester was going strong around this same time and that venue allowed pyrotechnics which was just nuts.
June 29, 2016 Subject:
Despite various minor audio imperfections, I like this show a LOT! Overall it sounds fine! Beautiful! Thanks very much.